Home > Back to Publisher > Report Information

Digital 3D Entertainment

DIGDIA
January 1, 2011
266 Pages - SKU: DDA6143077

Abstract Table of Contents Search inside this report Related Reports

2010 was the big coming out party for 3D. Hot on the heals of Avatar, just about everyone was eager to offer movies, consumer electronics, services and television content in 3D.

Now that 2010 is over, some pundits are now saying that 3D has been a disappointment. 3D movie reviewers find it easy to bad mouth some titles. 3D TV hasn't taken off like some thought it would. Glasses are expensive and cumbersome, and there isn't much 3D programming to watch.

But, none of this is a surprise for many in the industry. 3D was overhyped at the 2010 CES. The inevitable bad movies were converted to 3D. Standards were not all in place. The industry was caught a little by surprise. All of this was to be expected, and many predicted it would happen.

Remember, 3D didn't really start in movies until 2005 and 3D TV didn't start until mid-2010. Look at the chart above - the number of 3D movie titles is still growing at an incredible rate.

In the meantime, efforts to make 3D better and more complete are happening on all fronts, from movies, to equipment and tools, to devices, to content and services. An explosion of 3D in just about every product category imagined was on evidence at CES 2011.

But, opportunities to improve just about every element of the ecosystem still exist, if you know how things work. This is true, even for 3D TVs, which are now on their 3rd generation.

This report covers the complete 3D ecosystem. It talks about the market, the vendors, the technology, the products, the content and the services. Along the way, several areas of opportunity are mentioned or are made obvious.

1 Introduction
2 Digital Cinema Overview
3 Digital 3-D Movie Market: 3.1 Early Success; 3.2 3D Titles; 3.3 3D Genres; 3.4 How Many 3D Screens are Needed?; 3.5 Number of 3D Screens; 3.6 Theater Economics; 3.7 3D and Equipment Financing; 3.8 Video; 3.9 Games
4 3D Content Creation: 4.1 3D Production (and Postproduction) Issues; 4.2 Cameras; 4.3 Postproduction
5 3D Exhibition: 5.1 Triple Flash; 5.2 Digital 3D Projection Technologies; 5.3 Image Brightness; 5.4 3D Server; 5.5 Live 3D Alternative Content; 5.6 The Screen and Dead Seats; 5.7 Sound Systems
6 Consumer 3D: 6.1 The Diffusion of 3D; 6.2 3D Standards and Groups; 6.3 Consumer 3D Technologies - Pros and Cons; 6.4 3D Consumer Products; 6.5 Content; 6.6 Broadcast
7 Suggestions to the 3D Industry: 7.1 Why 3D will take hold this time, but…; 7.2 Shooting one’s own foot, and suggestions
8 Appendix: 8.1 Glossary; 8.2 SMPTE Standards Index; 8.4 Organizations; 8.5 Books; 8.6 Publications; 8.7 Conferences
Figures: Figure 1 - Relative news volume on "3D"; Figure 2 - Number of Feature Length 3D Titles; Figure 3 - 3D TV Duck; Figure 4 - 3D Yule Log; Figure 5 - Digital Cinema Ecosystem Overview; Figure 6 - Production & Postproduction workflow; Figure 7 - Distribution and Theater Workflow; Figure 8 - Live 3D event poster; Figure 9 - Opening U.S. 3D screen counts for selected major titles (2005 - 2010); Figure 10 - Opening night: 3D screens / Sites; Figure 11 - Total Number of Screens by Theater Chain Rank; Figure 12 - Simulated Number of 3D Screens Needed; Figure 13 - Simulated 3D Screen Count Requirements based on Actual 3D Release Dates; Figure 14 - 3D Screens Worldwide (2006 - 2010); Figure 15 - WW Digital Cinema Installations by Major Region (2005 - 2010); Figure 16 - Worldwide Market Share of Major 3D Cinema Vendors; Figure 17 - Percentage of 3D Screens Installed in N.A., Europe, Asia/ROW; Figure 18 - Speculative WW Digital Screen counts by major region (2010 - 2015); Figure 19 - Speculative WW 3D screen count by major region (2010 - 2015); Figure 20 - 3D Glasses Washer System (KoopTech); Figure 21 - How VPF Money Flows; Figure 22 - Release Windows; Figure 23 - Average Theater to DVD Window vs. Domestic Theater Gross; Figure 24 - Theatrical to DVD Window from 2000 to 2008; Figure 25 - Percent of Box Office Take by Week After Release; Figure 26 - Depth Script; Figure 27 - Transitioned Depth; Figure 28 - 3ality depth map tool screenshot; Figure 29 - Eye's Parallax; Figure 30 - Parallax relative to the screen; Figure 31 - Percival's Zone; Figure 32 - Distance from Screen vs. Disparity; Figure 33 - 3DTV and Viewing Distance Problem; Figure 34 - 3D TV viewing by Children; Figure 35 - A Depth Budget rule of thumb; Figure 36 - Trench binoculars for exaggerated depth; Figure 37 - Virtual camera placement when zoomed in; Figure 38 - Keystoning; Figure 39 - Y-axis distortion problem; Figure 40 - Camera convergence and where infinity appears in theater; Figure 41 - Optical Shifting; Figure 42 - Safe Area; Figure 43 - False perspective used in Lord of the Rings; Figure 44 - False Perspective; Figure 45 - What Left and Right Eye see; Figure 46 - Floating Window; Figure 47 - 3D camera used for Creature from the Black Lagoon; Figure 48 - Early rig by 21st Century 3D; Figure 49 - “Hyper Stereoscopic” depth camera; Figure 50 - Early Pace HD Fusion camera; Figure 51 - Kronomav StereoCam 300; Figure 52 - Kronomav Boom 3D Rig; Figure 53 - 21st Century 3D - BX-2 and BX-3; Figure 54 - 3ality rigs, TS-1 and TS-2; Figure 55 - 3ality looking into the beamsplitter; Figure 56 - Convergence and Interocular controls; Figure 57 - Technica 3D rig; Figure 58 - Rig with Steadicam; Figure 59 - Binocle 3D Brigger III; Figure 60 - Paradise FX Rig; Figure 61 - Silicon Imaging SI-2K Mini; Figure 62 - Iconix HD-RH1; Figure 63 - Panasonic's Professional 3D camera; Figure 64 - Sony prototype 3D cam; Figure 65 - IMAX camera used for Hubble 3D shots; Figure 66 - Thomson camera for Depth Mapping; Figure 67 - Depth is indicated by color; Figure 68 - 3D Holographic Camera; Figure 69 - Real-time Holographic Video Display; Figure 70 - Ghosts; Figure 71 - Ghost busting; Figure 72 - Quantel Pablo Neo Station; Figure 73 - Quantel Pablo Stereo3D screenshot; Figure 74 - Blackmagic Design DaVinci Resolve 3D; Figure 75 - Filmlight's Baselight DI station operating on a 3D clip; Figure 76 - DVS Clipster; Figure 77 - DVS 3D output selection menu; Figure 78 - Sony MVSX 3D station; Figure 79 - Screenshot from Sony MVSX showing depth analysis; Figure 80 - 2D to 3D conversion requires creating occluded images; Figure 81 - Cheap Occlusion Trick; Figure 82 - Cheap Rubber Trick; Figure 83 - Triple Flash; Figure 84 - Z Screen polarizer and Christie projector; Figure 85 - An alternative polarization system; Figure 86 - Polarized glasses; Figure 87 - 2nd Generation Active glasses from XpanD; Figure 88 - Color Shifting; Figure 89 - Dolby glasses; Figure 90 - Inside of the projector where filter wheel goes; Figure 91 - Closeup of Dolby color shift wheel; Figure 92 - Sony 4K projector with RealD; Figure 93 - Technicolor 3D film format and lens; Figure 94 - Business end of Technicolor's 3D lens; Figure 95 - Oculus3D format and lens; Figure 96 - SoliDDD's 3D film lens; Figure 97- LTI Philips LTIX 6000-DC Xenon Digital Lamp; Figure 98 - RealD XL System improves brightness; Figure 99 - RealD XL on a Christie Projector; Figure 100 - IMAX 3D projector system; Figure 101 - Stacked Projectors; Figure 102 - 3D Alignment Frame; Figure 103 - 3D alignment frame used by Oculus3D; Figure 104 - Doremi DCP-2000 Digital Cinema Server; Figure 105 - Doremi Integrated Media Block; Figure 106 - Server and Media Block diagram; Figure 107 - Doremi Server for Live 3D; Figure 108 - Dolby Digital Cinema products; Figure 109 - QuVIS Cinema Player; Figure 110 - GDC Tech Server and Integrated Media Block; Figure 111 - Sony Media Block; Figure 112 - Qube server and control panel; Figure 113 - Kodak Content Player; Figure 114 - Datasat Digital Entertainment; Figure 115 - XDC CineStore Solo G3 and screenshot; Figure 116 - Electrosonic and Extron players; Figure 117 - DVC Player; Figure 118 - Digital Cinema Servers; Figure 119 - Diagram of how Live 3D Sports works; Figure 120 - Screen gain; Figure 121 - Keystone perception issue; Figure 122 - Dead seats; Figure 123 - 16 channel audio; Figure 124 - Spacial Audio Processor; Figure 125 - Iosono Speakers; Figure 126 - 3D Sound; Figure 127 - 3D standards in the value chain; Figure 128 - Various 3D Data Formats; Figure 129 - Anaglyph Glasses; Figure 130 - A format for Service & Frame compatible; Figure 131 - Side-by-Side with Passive Glasses; Figure 132 - Dynamic LED backlighting; Figure 133 - LCD ghost pixels; Figure 134 - Ghosting for object moving away from viewer; Figure 135 - Close up of a Micropolarized display; Figure 136 - LG Passive Glasses TV with no HDTV resolution loss; Figure 137 - LG Dual Engine LCoS system; Figure 138 - Lenticular Lens; Figure 139 - Stand Here; Figure 140 - Parallax Barrier; Figure 141 - 2-Layer Pseudo 3D; Figure 142 - Variations of “3:2 Pulldown” for 3D; Figure 143 - FTC TV Label; Figure 144 - European TV Label; Figure 145 - LG's Smart 3D Positioning; Figure 146 - Portable 3D Blu-ray Player; Figure 147 - CEA 3D Glasses Logo; Figure 148 - Samsung's 3D Glasses Evolution; Figure 149 - Panasonic's 3D Glasses Evolution; Figure 150 - Monster Glasses and RF syng; Figure 151 - XpanD Youniversal; Figure 152 - RealD in Active Glasses; Figure 153 - Volfoni; Figure 154 - Sisvel 3D glasses sensor; Figure 155 - Examples of passive 3D glasses; Figure 156 - Fashion Glasses; Figure 157 - Fujifilm W3; Figure 158 - Sony Bloggie 3D; Figure 159 - Viewsonic 3D Cameras and Camcorders; Figure 160 - Sharp 3D Camera; Figure 161 - Aiptek 3D camera; Figure 162 - DXG's 3D camcorders; Figure 163 - Hero 3D camera; Figure 164 - Panasonic 3D Camera; Figure 165 - SLR 3D Lens; Figure 166 - Panasonic 3D Cam and Lens explosion; Figure 167 - Sony 3D Camcorder; Figure 168 - JVC's one and a half 3D camcorders; Figure 169 - Front Niche; Figure 170 -3D Frames; Figure 171 - Wearable 3D Displays; Figure 172 - 3D Multimedia Player; Figure 173 - Kodak's 3D prints; Figure 174 - Side-by-Side viewer; Figure 175 - nVidia glasses and emitter; Figure 176 - Samsung's 3D Monitor; Figure 177 - 3D Android Pad; Figure 178 - 3D for the iPhone; Figure 179 - 3D Mobile Phone from recent past; Figure 180 - LG and Sharp 3D Mobile Phones; Figure 181 - 3D Mobile TVs; Figure 182 - 3D Portable Gaming; Figure 183 - Sony 3D Billboard; Figure 184 - A real 3D display; Figure 185 - ViewSonic 3D interface; Figure 186 - 2D to 3D Anaglyph converter; Figure 187 - HDMI 3DTV Extender; Figure 188 - 3D IP Camera; Figure 189 - 3D Slot Machine; Figure 190 - Sony screenshots; Figure 191 - Broadcast Facility Block Diagram; Figure 192 - Harris, Evertz & Miranda equipment; Figure 193 - Ericsson pair of receivers for 3D; Figure 194 - Typical message tells viewer how to set 3DTV mode; Figure 195 - Dish STB for 3D; Figure 196 - Caption Window
Tables: Table 1 - Early 3D screen box office multiplier over 2D; Table 2 - 3D Titles (2005 to 2010); next page (2011 & 2012); Table 3 - Changing 3D Genres over the Years (2005 to 2011); Table 4 - 3D Cameras and Rigs; Table 5 - 3D Editing and Digital Intermediate; Table 6 - Stereoscopic 3D theater systems; Table 7 - 3D Projector Technologies Comparison; Table 8 - 3D Projector Technologies Comparison (cont.); Table 9 - ITU Roadmap; Table 10- DVB allowable 3D formats; Table 11 -3D Codec Vendors; Table 12 - 3D Codec Vendors (Cont.); Table 13 - 3D Television Vendors and Technology employed; Table 14 - Consumer 3D Glasses; Table 15 - Digital Signage 3D Display Companies

Digital 3D Entertainment

Share this report

Other tasks

Research Assistance

Related Markets

TV & Film Production Reports

Free Alert Me service